The title Moving In suggests that Suss has claimed the gallery as her own, embracing its cozy, domestic finishes. This setting acts as an extension of her practice, where intimacy and memory collide. Her large-scale interior paintings reflect the sensory qualities of personal spaces while challenging stereotypes of domesticity, particularly regarding women’s lives in America. By weaving in personal narratives and charged objects, she crafts a library of often-overlooked female spaces, inviting a closer look at the hidden stories and complexities that lie beneath the surface.

Her pictorial style, which is both meticulous and spacious, allows these personal artifacts - a Finnish book here, a Bertoia chair there - to take on the weight of cultural and familial significance. Drawing primarily from life and inspired by the collection of the Philadelphia Museum of Art she visited growing up, these objects become integral to her narrative. Whether it's a mantelpiece laden with familiar yet elusive items or a room that recalls both her past and the spaces of iconic literature, Suss transforms domestic interiors into a stage where the personal and the historical overlap.

Suss’s fascination with books, both as objects and as conveyors of narrative, adds yet another layer to her work. In this exhibition, she draws inspiration from British authors like Virginia Woolf and Charles Dickens. The inclusion of a first edition of David Copperfield transcends mere decoration; it reflects her recontextualisation of classic literature through a contemporary lens, resonating deeply with Woolf’s themes of return and the passing of time and its effects in To the Lighthouse. Just as Barbara Kingsolver’s Demon Copperhead reshaped her understanding of Dickens, Suss invites a fresh reconsideration of familiar spaces and stories. This seris of works incorporates visual references to quintessentially British design and art like Morris & Co. and Liberty prints and Vanessa Bell’s iconic Hogarth Press dust jackets, grounding Moving In in its particular geographical surroundings in London.

In this exhibition, the gallery itself plays an integral role in shaping the narrative. As Suss reflects on her own memories, she acknowledges the impact of the physical space where her work is displayed. The gallery, much like her paintings, becomes a vessel for history and personal connection, creating a dialogue between artist, viewer, and place.

In Viale Lombardia, Suss thoughtfully merges the features of the MASSIMODECARLO Milan gallery - originally designed as a house, Casa Corbellini-Wassermann - with elements of a typical home. Aware of the space's domestic past, she integrates personal touches such as memorabilia, books, and even her dog, intertwining memories and creating parallel realities.

The same happens, perhaps to a greater extent, in Clifford Street, where Suss pays homage to the building’s past as a Georgian home and its intimate scale. She transforms the gallery into a fully furnished living space, complete with a large green sofa, a Noguchi lamp, and a Monstera Deliciosa. Her meta-paintings conceal other works within them, creating a treasure hunt - or rather, a detail hunt - that captivates us as we discover a world akin to our own, both comforting and intricately interconnected.

Her playful, almost cinematic approach to painting - where objects, spaces, and stories are woven together by a mental "evidence board" of invisible strings - invites viewers into her whimsically curated domestic realm of imagined memories. Suss’s paintings are maps of consciousness, where geographies, memories, and cultural touchpoints converge. The more time you spend with them, the more dots you begin to connect - and that’s precisely the point.